The central question of this research follows the problematic of patrimonialization (heritization), performance and mise en scene of musical practices. It aims, more precisely, to understand how and why Judeo-Spanish people settled in France since the early twentieth century, use individual practices of professional musicians and singers who are predominantly external to the community to reclaim their collective musical patrimony and affirm their identity. The researcher returns to the past in order to understand how this musical repertoire was constructed, and how it came to be almost exclusive to the art world, even though it is still associated to with the traditional music repertoire. Moreover, in order to question the Judeo-Spanish nature of the music and determine what presently characterizes it, a multi-site ethnography of the artists and the community is proposed. Finally, with a view to understanding the meaning of these practices today different spaces of performance are examined, especially the interaction between the poles of production and reception, in a general context, and through an examination of the parameters of its performance practice. One of the conclusions reveals that the constant relationship between the artist and the community generates a new kind of space for family and that each space constitutes an inter-relational system, thus constructing an interactive equilibrium, which keeps the musical patrimony alive. In this way, it is the problematic of musical categories (e.g. popular music, traditional music, staged music), related to spaces of practice, which is interrogated.